In a public conversation, the artist Jonathan Horowitz and the photographer Wolfgang Tillmans will share insights on their artistic and curatorial work. Starting from Horowitz’ exhibition We Fight to Build a Free World! at the Jewish Museum in New York, they will investigate the potential art offers to fight racism and anti-Semitism.
Our research shows us that, on the contrary, knowing another narrative does not interfere with identifying with the one from your family or collective. When you get to know the complicated and complex world, you can become even more confident within your own story of the world.
As the artistic research project Navigating Dizziness Together started mid-May, this video-lecture is an introduction to the field to provide background for the definition of dizziness and further proceedings of the artistic research.
Dizziness–A Resource? Two hypotheses are hidden in the title of this artistic research. First, in this context, the term dizziness is understood in a broader sense. Second, the artistic research claims that states of dizziness should be considered a resource.
Indeed, dizziness is more than feeling dizzy. Contributions by artists, researchers from experimental sciences as well as cultural studies, and philosophers trace dizziness not only as a phenomenon of physiological, emotional, and cognitive processes but highlight the transversal nature of the phenomenon.
Words exist because of meaning.
Starting with the attempt to call the phenomenon of dizziness by its proper name, this book brings together diverse voices considering the potential of this in-between state from multiple perspectives and in view of different disciplines.
Writer Anna Kim's lecture retraces the life of photographer Edith Tudor-Hart (née Edith Suschitzky 1908, in Vienna, died 1973 in Brighton), who worked as a Soviet agent and photographed workers and street children from Vienna and London to give a face to poverty and social disadvantage.
The book 'The Arsenic Eaters' investigates the widespread historical belief that the consumption of arsenic, one of the most potent mineral poisons, is beneficial to one’s health. Accordingly, many poison eaters were found among rural population in the eastern parts of the Alps
‘Dizziness’ implies notions of physical and emotional disequilibrium, staggering, confusion, uncertainty, and turmoil. This article discusses dizziness as a possible resource for creativity including the concept of the ‘compossible space’.
Keeping our bodily balance is a continuous performance, including the effort to keep the erect posture against gravity. However, since this performance remains strictly subliminal we become aware of the state of equilibrium only in the event of disruption: in the very moment we loose our balance, stumble and fall, or more generally, when the relation between the body and the surrounding world is irritated, disturbed, or interrupted as it is characteristic in the state of vertigo.
Based on the assumption that there is a human tendency toward seeking ecstatic feelings and risk, resulting in dangerous outcomes and potentially addiction, Gerald Koller trains individuals in local communities, citizen organizations (COs), and regional government programs to develop responsible behavior in risky settings.
This study investigated work-related behaviors and feelings in the process of creating art. In a collaborative effort by creativity researchers and artistic researchers, we invited artists to create a short film or video for an international art competition and monitored them for 2 weeks while producing the artwork.
If one notes the amount of staggering performed or stammered by characters in Waiting for Godot, it can be quite surprising. In fact, few plays contain characters that spend as much time stumbling or tottering about the stage. It is almost as if they are sailors in the midst of a violent squall, but this is not the case.
There is a lot of “queering something” these days, although Queer Theory is certainly not yet part of the major scientific or philosophical discourse. I will argue that dizziness is not just another concept, which needs queering, but that dizziness is fundamentally linked to queerness.
These are the recordings of our one-day symposium, that brought together artistic and cross-disciplinary research on dizziness, with speakers from the fields of philosophy, visual arts, creativity research, psychbiology, medicine, architecture and cultural studies in the form of screenings, artists’ talks, lectures and discussions.
How did we succeed to make dizziness a sort of commonplace? After several cross-disciplinary gatherings in the course of the research project ‘Dizziness–A Resource’, it became clear that the introduction of the concept of dizziness into divergent research fields created a compossible space, formed by our common interest in the experience of and reflection on dizziness.
‘Dizziness’ is an English translation of the German word ‘Taumel’, which implies a broader semantic field including notions of physical and emotional disequilibrium, staggering, confusion, uncertainty, and turmoil.
But what characterizes these people who defy norms, who disregard conventional boundaries, institutionalized norms, and accepted reward and evaluation systems – people who, in fact, not only view conventional boundaries as ridiculous but do not see boundaries to start with?
My agents of confusion!
The Atlas depicts a short moment of balance.
A central goal of the artistic research project ‘Dizziness–A Resource’ is to gain a better understanding of the role of dizziness in the artistic process. As one approach towards this goal, Ruth Anderwald + Leonhard Grond teamed up with psychologists from the University of Graz to conduct an empirical investigation.
You are not here.
The understanding of the specifics of the artistic work process is still incomplete. Philosophers like Maurice Merleau-Ponty (on Paul Cézanne) or Gilles Deleuze (on Francis Bacon in 'The Logic of Sensation') have ventured into that realm. This competition is an attempt by a team of artists and scientists whom together are trying to come to a more profound and holistic understanding of the artistic process and its needs.
At this stage of the “just before”, of the potential, the ambiguous, the non-separation – the work of art avoids to come about, to take place because if it takes place, it is only this and not as well that anymore, it becomes exclusive. The great oeuvre keeps itself at work, because it keeps itself at this stage of the “just before”, “upstream” of a definitive actualisation, which would follow its definition.
Only since contemporary philosophy could compossibility also mean that opposites, several mutually contradictory worlds or heterogeneous truths, are possible within the same universe and without necessarily entailing separation, distinction or any dichotomy between them.
From ambigō ("wander; waver, hesitate")
It's one thing to write a text, but another to read it out loud and in front of an audience, where one becomes vulnerable. On the other hand, through this act of reaching out, potentially, it touches people more directly than through the written word. Voice is limited to a place, at a specific time. It's intimate: one speaks, the other listens.
When behaving as waves, [particles] can simultaneously pass through several openings in a barrier and then meet again at the other side of the barrier. This "meeting" is known as interference. Strange as it may sound, interference can only occur when no one is watching.
Throughout the main body of his original 1927 paper, written in German, Heisenberg used the word, "Ungenauigkeit" ("indeterminacy"), to describe the basic theoretical principle. Only in the endnote did he switch to the word, "Unsicherheit" ("uncertainty")